SAUS 



fecum^ 



LIBRARY OF CONGRESS. 

Shelf ^^! 



87"^ 



UNITED STATES OF AMERICA. 



THE 




EMBRACING A 

FULL DESCRIPTION OF THE VARIOUS 
DANCES OF THE PRESENT DAY, 

TOGETHER WITH CHAPTERS ON 



I^tiquette, tl\e ©er\efit^, cii\(i. fe^- 
tofy of f)cii\dii:\^, 






BY 



M. JUDSON SAUSE. 






NEW YORK : 

sa.tjsh;»s r)A]N^ciNG}- ACAi^EMrsr, 

114 and 116 East 13th Street. 
1880. 



n^m 



w 






/r7^ 



Entered according to Act of Congress, in the year 1879, by 

M. JUDSON Sause, in the Office of the Librarian 

of Congress, at Washington, D. C. 



PREFACE: 



In preparing this little work for publication, the 
aim was not to ofifer anything new on the subject 
of which it treats, but rather to supply a conven- 
ient hand-book and prompter for those learning to 
dance. The explanations of the various movements 
and figures have been simplified as far as possible, 
and much that is calculated to mislead the begin- 
ner is intentionally omitted. The various dances 
are described as they are at present danced in 
fashionable society, while the rules of etiquette 
laid down are recognized as standard by the best 
authorities. 

The work goes forth in response to demands 
from a large number of former and present pupils, 
and not from any desire on the part of the author 
to appear in print. It has been written hurriedly, 
in odd moments snatched from the duties of a 



Iv. PREFACE. 

busy life, and is therefore not free from many im- 
perfections. That it may prove a useful practical 
guide to those uninitiated in the " art of dancing '* 
is the only expectation of 

THE AUTHOR. 
New York Oity, Oct. 14, 1879, 



CONTENTS: 



CHAPTER I. 

Paob. 

Etiquette . .', 7 

Of the Parlor 8 

Of the Bali-Room 9 

Of the Street.. 11 

CHAPTER II. 

General Instructions 13 

The Five Positions „ 13 

The Salutation 16 

CHAPTER III. 

The Quadrili.es 18 

Standard 20 

Sociable 23 

Basket 23 

Coquette 24 

Jig = 25 

Star 26 

March 27 

Waltz 28 

Lanciers , 29 

Saratoga Lanciers 33 

Caledonians , 35 

Prince Imperial 87 

Parisian Varieties 41 



vL CONTENTS. 

CHAPTER IV. 

Contra Dances 44 

Spanish Dance 44 

Sicilian Circle 46 

Virginia Reel 46 

CHAPTER V. 

Round Dances 48 

Waltz— Modern 50 

Waltz— Hop 52 

Waltz— Five-Step 52 

Waltz — Knickerbocker 53 

Polka 54 

Polka Mazourka 55 

The Redowa 56 

The Polka Redowa 57 

Schottische 57 

Galop , 58 

Deux Temps 59 

Danish Dance 60 

Esmeralda 60 

Varsovienne 61 

CHAPTER VL 

The German .\ 62 

CHAPTER VII. 

The Benefits of Dancing 78 

CHAPTER VIII. 

History of Dancing 85 



CHAPTER I, 
ETIQUETTE, 

Etiquette has been described as " the machinery 
of society." It might more properly be spoken ot 
as the oil that lubricates and keeps that intricate 
machinery running smoothly and evenly. It 
teaches civility, kindness and a natural freedom of 
action. It extends a maternal care over the young 
and inexperienced, while it interposes like a wall 
against the intrusions of the ill-bred, who have nc 
desire to be civil. 

In all civilized nations certain forms and rules 
have been slowly and carefully established for the 
government of society. These rules have of 
necessity varied according to the sentiments and 
requirements of the people adopting them ; and 
there is at times considerable variation of usage in 
the different circles of what is known as " the best 
society " in the same country. This difference is 
necessary for advancement, as a fixed rule of eti- 
quette precludes the possibility of any improve- 
ment in customs or manners. 



8 THE ART OF DANCING. 

A gentleman is known by his manners, not by 
the coat he wears ; while a woman in a calico dress 
may be as much ** a lady " as though she was 
dressed with silks and diamonds. In either case 
the polish and refinement must come from a know- 
ledge of the usages of good society, which is made 
up of the rules of etiquette. 

While it is not the province of these pages to 
give a minute description of all the rules of eti- 
quette, I deem it important to lay down the prin- 
cipal ones to be observed in the parlor, in the ball- 
room, and on the street. 

ETIQUETTE OF THE PARLOR. 

1. When the sexes are the same, always present 
the younger to the elder. 

2. A gentleman should always be presented to 
a lady. 

3. A gentleman should never be presented to a 
lady without first obtaining her permission. 

4. Introductions should not be made without 
knowing that they are mutually agreeable. 

5. The gentleman should precede the lady in 
going up stairs, and follow her in coming down. 

6. Always look at the person speaking to you, 
and listen attentively. 

7. Never speak without thinking what you are 
going to say. 

8. " Slang " should never be used. 



THE ART OP DANCING. 9 

9. In general company long arguments should 
be avoided, and conversation should run from one 
topic to another. 

10. It is extremely ill bred to interrupt others 
while speaking. 

ETIQUETTE OF THE BALL-ROOM. 

1. Invitations for private balls should be sent 
out a month or six weeks beforehand, and should 
be accepted or declined at once. 

2. No one should accept such an invitation 
who cannot dance. 

3. Gentlemen should dance the first set with 
the ladies under their escort. 

4. An introduction given in the ball-room does 
not constitute acquaintanceship, and the parties 
thus introduced must remain strangers unless the 
lady choose to recognize the gentleman. 

5. A gentleman cannot ask a lady to dance 
without first being introduced to her. 

6. Never forget a ball-room engagement. 

7. Engagements for one dance should not be 
made while another dance is in progress. 

8. A lady should not engage herself for a dance 
without the consent of her partner. 

9. A gentleman will not presume on a ball-room 
introduction to present another gentleman to the 
lady. 



10 THE ART OF DANCING. 

10. After dancing, the gentleman should con- 
duct the lady to a seat, unless she desires other- 
wise. 

11. The gentleman should conduct to the sup- 
per room the lady with whom he danced last, un- 
less he has a previous engagement, when he should 
provide her with an escort, at the same time mak- 
ing a handsome apology. 

12. While dancing never hold a lady's hand 
behind you, on your hip, or high in the air. Such 
customs are offensive to well-bred people. 

13. It is the greatest breach of etiquette to 
leave one set to join another. 

14. If there is a dispute about a place in a set, 
it is better to quietly withdraw than to contend for 
place. 

15. Persons unacquainted with a figure or 
dance should not attempt it, as they expose their 
own awkwardness and annoy all who may be danc- 
ing with or near them. 

16. Gentlemen should be agreeable to ever)^ 
one in a ballroom, and never show their prefer- 
ences for dancing with a few to the exclusion of 
those they may think less favored. 

17. If a lady refuses to dance, or forgets an 
engagement and stands up with another partner, 
the gentleman thus slighted should never allow his 
pride to master his good temper. 

18. Withdraw from a ball-room as quietly as 



THE ART OP DANCma. IJ 

possible, so that your departure may not be ob- 
served and so cause the party to break up. 

ETIQUETTE OF THE STREET. 

1. The lady should be the first to recognize an 
acquaintance on the street, unless the friendship is 
quite intimate, when it does not matter. 

2. The gentleman should raise his hat entirely 
from his head and incline the body slightly for- 
ward in saluting a lady. The hand on the oppo- 
site side from the lady should be used to lift the 
hat. 

3. One salutation is all that civility requires 
when you pass a person more than once on a pub- 
lic promenade or drive. 

4. Gentlemen raise their hats when begging a 
lady's pardon for an inadvertence, whether she is 
known to him or not. 

5. Never stare at any one, is a rule with no ex- 
ceptions. 

6. Gentlemen do not smoke when driving or 
walking with ladies or on promenades much fre- 
quented. 

7. If the lady with whom you are walking is 
saluted by another gentleman, acknowledge the 
same by removing your hat. 

8. Should you desire to converse with a lady 
you may meet in the street, do not stop her, but 
turn and walk in her direction. 



13 THE ART OF DANCING. 

9. \yhen walking with a lady in a crowded 
thoroughfare, and obliged to proceed singly, the 
gentleman should precede her to clear the way. 

10. When walking with a lady the gentlemen 
shouM walk on the side next the street. 

11. Loud conversation should be avoided at 
all times. 



THE ART OF DANCING. 17 

ment is made with the left foot, and the second 
with the right. 

The BoW. — In bowing to his partner, the gen- 
tleman carries the left foot about nine inches side- 
way, placing it parallel to the right, and turning 
partly toward his partner ; the right foot is then 
brought to first position, while he faces his part, 
ner. The body is then bent slightly forward, with 
the knees unbent, which completes the bow. The 
movements are reversed to regain position. In 
bowing to lady on the left, the first movement is 
made with the right foot, and the second with the 
left. 

When commencing a dance the first position is 
usually taken, and the arms should hang grace- 
fully by the sides, with the fingers loosely clustered 
together. This position of the arms should also 
be observed while executing any figure where the 
hands are not engaged. 

It is customary at the present day to walk grace- 
fully through the figures of the square dances 
rather than attempt any fancy steps, as was form- 
erly the practice. 

In turning partners in the several qudrilles, the 
movement should be executed by joining hands, 
instead of the gentleman placing his arm around 
the waist of the lady. 



CHAPTER III. 
THE QUADRILLES. 



The quadrilles are the most social of modern 
dances. The various figures are so simple that a 
knowledge of them is easily acquired ; and danc- 
ing in alternation, while it guards against fatigue, 
gives frequent opportunity for pleasant conver- 
sation. 

Old and young can alike participate in its pleas- 
ures, and for that reason they constitute, in their 
various forms, a considerable part of the pro- 
gramme of every entertainment of which dancing 
forms a part. 

The different quadrilles are arranged and named' 
to correspond to the music to which they are 
danced, while the various figures are designed to 
give opportunity for a variety of graceful move- 
ments in each set. 

Before commencing to dance the quadrilles, it 
is necessary to ascertain which is the head of the 
room. As a rule this is the end furthest from the 



THE ART OF DANCING. 19 

entrance. At private houses, or v/hen the entrance 
is upon the side of the room, the ''head" is desig- 
nated by tha master of ceremonies, before the 
dancing begins. 

In quadrilles four couples are required to com- 
plete a set. The first couple is nearest the head of 
the room, the second directly opposite, and facing 
the first ; the third is to the right of the first, and 
the fourth to the left of the first, facing the third. 
The first and second are designated the head 
couples, and the third and fourth the side couples. 

When ready to begin the dance, the couples stand 
in the centre of the four sides of a square,* with 
the ladies to the right of their partners, thus : 



OX 



><! O 

O X 



xo 



It is from this form that we have the name Quad- 
rille or Square dance. 

When the sets are all formed, the master of 
ceremonies gives a signal for the orchestra to 
begin. The dance is commenced by saluting 
* [O represents the lady, and X the gentleman.] 



20 THE AKT OF OANCING. 

partners, and immediately after saluting to corners. 
Each figure begins with the second strain of the 
music, the dancers remaining standing during the 
first strain, except in the first figure, when the salu- 
tations are made during the first strains of eight 
bars of music. 

In the following description of the several figures 
of the quadrille, the numbers to the right denote 
the number of measures or bars of music required 
for each movement. 



quadrille-Standard Set. 

FIRST FIGURE. 

Right and Left 8 Bars 

[Head couples cross over to opposite 
places, turning partners half round with 
the left hand, then crossing back, giving 
left hands to partners to places.] 

Balance 8 " ■. 

[Same couples cross hands with part- 
ners, right hand uppermost, taking eight 
steps across the set, passing to the right 
of the opposite couple, and returning in 
the same manner to places, or polka 
across and back.] 



THE ART OF DANCING. 21 

Ladies' Chain 8 Bars 

[The two ladies give right hands to each 
other, cross over and turn opposite gen- 
tleman with the left hand, returning to 
places in the same manner.] 

Balance — [Same as before] 8 " 

Side couples repeat. 



SECOND FIGURE. 



Forward Four r 6 Bars 

[The head couples forward and back, 
then cross over to opposite places (la- 
dies passing between gentlemen), then 
Chasse (pass and repass partners), and 
recross to places.] 

Balance — [As before] 8 " 

Head couples twice — sides couple twice. 



. THIRD FIGURE.* 

Right Hands Across 8 Bars 

[The head couples cross to opposite 
places, giving rwjat hands as they pass; 
returning, giving left hands, which are 
retained, while right hands are given to 
partners, thus forming a circle in the 
centre.] 

* When the "Sociable." "Bnpkct," "Coquette," "Ji.o:," or "Star" 
Fisrure is dar.ccd, they are snb-^titared for the Third or Fourth Figure 
of the "Standard Quadrille,"' at the optio:i of the prompter. 



22 THE ART OF DANCING. 

Balance in circle 4 Bars 

Cross to opposite side (going round to the 

the right) .8 " 

Two ladies forward and back 4 " 

Two gentlemen forward and back 4 " 

Half right and left to places .4 " 

Head couples twice — side couples twice, 

FOURTH FIGURE. 

Forward Four 8 Bars 

[Head couples forward and back, for- 
ward again, first lady pass to opposite 
gentleman.] 

Forward three and back, forward again, 

both ladies pass to opposite gentleman. 8 " 

Forward three and back, forward again and 

form a circle of four 8 " 

Hands four, half round and half right and 

left to places 8 " 

Head couples twice — side couples twice. 



FIFTH FIGURE. 

Ladies' Chain 8 Bars 

Forward four [same as second figure] 16 " 

Balance [same as first figure] 8 " 



THE ABT OF DANCING. 23 

Head couples twice — side couples twice. 

After side couples balance the second time, the 
quadrille is finished by all joining hands and cir- 
cling round to the left, and to places. 



SOCIABLE FIGURE. 

There is no rule as to what figures shall be called 
in the Quadrille Sociable. The choice is left en- 
tirely with the promptor. The following is a favor- 
ite figure : 

Head couples right and left 8 Bars 

Side couples right and left 8 " 

All the ladies balance to the right and ex- 
change partners 8 " 

All promenade 8 " 

Head couples, ladies' chain 8 " 

Side couples, ladies' chain 8 " 

All the ladies balance to the right and ex- 
change partners 8 " 

All promenade 8 " 

All hands half round to the left and reverse . 8 '* 
Ladies balance to the right and change part- 
ners 8 " 

All promenade 8 " 

Ladies balance to the right and change part- 
ners 8 '* 



24 THE ART OF DANCma. 

All promenade 8 Bars 

All Chasse .8 " 



BASKET FIGURE. 



Forward Four, ) Same as Fig. 2, Quad- j 16 Bars 

Balance, j rille. ( 8 " 

All the ladies join hands in the centre 4 " 

Gentlemen join hands outside the ladies. . .4 " 
Gentlemen hands round, finishing with their 

partners on their right 8 " 

[Here a pause occurs in the music, dur- 
ing which the gentlemen raise their 
hands, joined so as to allow the ladies 
to pass backward and rise on the out- 
side with their hands joined in front of 
the gentlemen, forming a basket.] 

All balance in this position 4 ** 

Turn partners to places 4 '* 

[To be executed four times. The third 
and fourth times the gentlemen join 
hands in the centre and the ladies out- 
side.] 



CHEAT, OR COQUETTE. 

First couple balance to the right 4 Bars 

[The first couple forward to the couple 
on the right (third couple) and balance 
at the same time; the third couple 



THE ART OF DANCING. 25 

balance to the first as they approach \ 

them.] 

Turn the opposite person with both hands. .4 " • 

[It is optional whether you turn the : 

person with whom you balance or exer- , 

cise the privilege to cheat. One may 

extend their hands to the opposite per- \ 

son and, when they attempt to turn 

them, suddenly turn away and turn ] 

some one else, hence its title : the ] 

Cheat.] 

Balance to the next couples (second) and ; 

turn 8 Bars . ■ 

Balance to next couple (fourth) and turn. .8 " ■ 

Balance to partjier and turn 8 " j 

Counterpart for the others. \ 

The Cheat is generally introduced as No. 4, after | 

three numbers of the Quadrille (standard), and i 

followed by the Jig as No. 5. | 



JIG FIGURE, 



Hands all round , 8 Bars 

All the ladies balance to the right (each lady 
balances to and turns, with both hands. 
' the gentleman on her right) 8 " 



88 THE ART OF DANCINQ. 

Balance to and turn next gentleman on the 

right 8 Bars 

Balance to and turn next gentleman 8 " 

All balance to partners and turn 8 " 

Hands all round 8 " 

All the gentlemen balance to the right (exe- 
cuting the figure in the same manner as * 

the ladies) 32 " 

Hands all round 8 " 

All Chasse » » 8 •* 



STAR FIGURE. 



All promenade 8 Bars 

Four ladies forward and back 4 " 

Gentlemen the same 4 " 

Four ladies cross righ: hands and go half 

round to thi-. left 4 '* 

Left hands back— -(on reaching place retain 
left hands and give right hand to part« 

ners) 4 " 

All balance 4 " 

Turn partners to places 4 ** 

Perform four times» 

The third and fourth times gentlemen " forward 
and back, cross right hands, &c./' first. 

Finish with "All Chasse, and salute partners.' 



THE ART OF DAN CINQ. 27 

MARCH. 

In the March Quadrille one or two figures are 
danced before forming for the Grand March. 

[First couple promenade round inside 
and stop in their places, facing outward. 
The third and fourth couples will then 
advance and take position behind the 
first couple, while the second couple 
remains in place, all facing toward the 
head of the room.] 

With two lines thus formed "All forward, 
march," — (commencing with the music) — the ladies 
turning to the right and the gentlemen to the left 
at the head, the dancers march round as directed 
by the master of ceremonies, while march music is 
being played. 

When the March ceases the dancers stop and 
separate in two lines, facing each other, to con- 
tinue the figure, thus : 

Top Couple Balance. 

[The top couple forward and back, for- 
ward again and turn partners with both 
hands half round, then promenade down 
the centre with the waltz or galop step, 
each taking position at the foot of the 
line.] 

This is repeated by each couple in turn. 



THE ART OF DANCING. 



Then all forward and back, forward again and 
turn partners, and return to places occupied in 
Quadrille previous to the March. After this one 
or two figures may be danced. 



WALTZ QUADEILLE. 

FIRST FIGURE. 

Head couples right and left 8 Bars 

Balance 8 '* 

Ladies' chain 8 " 

All waltz around i6 " 

Side couples repeat. 

SECOND FIGURE. 



Head couples forward four i6 Bars 

All waltz around i6 " 

Head couples twice — side couples twice. 

THIRD FIGURE. 

Head couples right hands across 4 Bars 

Left hands to centre 4 " 

Balance in centre • 4 " 



THE ART OF DANCING. 29 

Half promenade to opposite places 4 Bars 

Waltz all around 16 ** 

Head couples repeat to regain places — side cou- 
ples the same twice. 

FOURTH FIGURE. 

Head couples forward and back to the 

couples on the right 4 Bars 

Gentlemen cross over (with sides) and turn 

opposite ladies 4 Bars 

Ladies' chain 8 " 

All forward and back 4 " 

Gentlemen turn partners to places 4 " 

All waltz around 16 " 

Head couples twice — side couples twice. 

FIFTH FIGURE. 

All right and left half round 8 Bars 

Reverse to places 8 " 

Head "couples forward and back 4 " 

Forward again and salute 4 " 

AH the ladies balance to the right 8 '* 

All waltz around with new partners 16 " 

Head couples twice — side couples twice — when 
all the ladies will regain places. 

After the figure is performed the fourth time, the 
dance ends with " Right and left half round and 
reverse to places.** 



80 THE ART OP DANCING. 

LA.NCIERS. 
FIRST FIGURE. 

Head couples forward and Back 4 Bars 

Forward again and turn opposite partners . . 4 " 
Cross over , . . . , 8 " 

[Cross over to opposite places, first 
couple passing between second, recross 
to places, second couple passing between 
first.] 

Balance to corners 8 ** 

[The ladies face the gentlemen on the 
right and the gentlemen face the ladies 
on the left, each taking four steps for- 
ward and bacK (ladies to the inside), 
then turning corners with both hands, 
and return to places.] 
Head couples repeat, with second couple passing 
between first couple in " Cross over," and first be- 
tween second in recrossing to places. 
Counterpart for sides. 

SECOND FIGURE. 

Head couples forward and back 4 Bars 

Forward again, and leave ladies in the cen- 
tre, facing partners 4 

Chasse 4 *' 

[Ladies and gentlemen each taking four 
steps forward and four backward.] 



THE ART OF DANCING. 81 

Turn to places 4 Bars 

Ail forward and back in two lines 4 " 

[In forming two lines the side couples 
separate from their partners and join 
the head couples, thus forming four in 
each line. In repeating the third and ^ 

fourth times, the head couples separate 
and join the sides in the same manner.] 
Forward again and turn partners to places. 4 ** 
Head couples twice — side couples twice. 



THIRD FIGURE. 



Head couples forward and back 4 Bars 

Forward again and salute 4 " 

Ladies* chain 8 ** 

Head couples twice — side couple:; twice. 

FOURTH FIGURE. 

Head couples lead to the right and salute. .4 Bars 

Lead to the left and salute 4 " 

Return to places and salute partners 4 ** 

Right and left 8 " 

[Head couples cross over to opposite 
places, turning partners half round with 
the left hand, then crossing back, giving 
left hands to partners to places.] 

Heads twice — sides twice. 



9^ THE ART OP DANCING. 

FIFTH FIGURE. 

Instead of a full measure, two or three cords 
constitute the introduction to this figure. 

Right and left all roflnd 1 6 Bars 

[All face partners, giving right hand to 
partners (gentlemen passing to the right 
and ladies to the left), giving left hand 
to next person, right hand to next, and • 
so on till you face partner in opposite 
places ; then salute and pass on as be- 
fore to places.] 

First couple promenade around inside the 
set, and face outward in places. Third, 
fourth and second couples fall in be- 
hind '....8 " 

AllChasse 8 " 

[Gentlemen passing behind the ladies, 
across and back, then separating in two 
lines, facing partners.] 

First couple join hands and lead down the 
middle, then change hands without turn- 
ing partner, and return to places in lines. 8 " 

All forward and back 4 " 

Forward again and turn partners to places. 4 " 

Repeated by each couple in their order, and, 
after the fourth time, finish with " Right and left 
all round." 



THE ART OF DANCING. 83 

SARATOGA LANCIERS. 
FIRST FIGURE. 

Head couples forward and back 4 Bars 

Forward and turn opposite partners. 4 " 

Cross over and return to places 8 " 

Balance to corners, turning at corners with 
right hand and then turning partners 

with left hand to places 

Head couples twice — side couples twice. 

SECOND FIGURE. 



(4 



All forward and back 4 Bars j 

Forward again and turn ladies to centre. ... 4 ** ) 

Chasse and turn partners to places .8 " ' 

Hands all around 8 " 

Perform four times. 

■i 

THIRD FIGURE. I 

All forward and back 4 Bars 

Forward again and salute 4 ** ■ 

Ladies cross right hands and promenade full \ 
round and turn partners with left hand. 8 ** 

Perform four times. l 



34 THE ART OP DANCING. 

The third and fourth times the gentlemen cross 
right hands, promenade round, and turn partners 
with left hands. 



FOURTH FIGURE. 



Head couples lead to the right and salute. .4 Bars 

Lead to the left and salute 4 " 1 

Return to places and salute partners 4 " I 

Hands four, half round, with sides 4 " ' 

Half right and left to places • • • .4 '* ] 

Head couples twice — side couples twice. Each l 

in repeating leads first to the right and then to the ] 
left. 

FIFTH FIGURE. | 

1 

All right and left, half round 8 Bars ! 

Reverse to places 8 " j 

First couple promenade, face out, and side \ 

couples fall in behind 8 ^' 1 

Chasse 8 " 

March 8 " • i 

[Ladies and gentlemen turn outward, '\ 

doubling on their respective lines, and j 
march around so that they change places 

(the ladies marching inside the line of j 

gentlemen).] 1 

Forward and back 4 " ! 



THE AHT OF DANCINQ. S5 

Forward again and turn partners to place.. 4 Bars 
reformed four times, by each couple in turn 

leading off with " Promenade.'* 

The dance concludes with "All right and left, 

half round, and reverse to places," 



CALEDONIANS, 
FIRST FIGURE. 



Head couples cross right hands and go half 

round to the left 4 Bars 

Cross left hands and return to places. 4 " 

Balance to partners and turn 8 " 

Ladies' chain 8 " 

Half promenade and half right and left to 

places.. 8 *' 

[Frequently the polka or waltz is sub» 
stituted for this movement.] 
Side couples repeat. 

SECOND FIGURE. j 

Head couples forward and back 4 Bars 

Forward again, salute, and retire to places. 4 " 



36 THE ART OF DANCING. 

Ladies balance to the right 8 Bars 

[Ladies balance to gentlemen to the 
right and turn.] 

All promenade with new partners 8 ** 

Dance twice by head and twice by side couples, 

and all will regain partners. 



THIRD FIGURE. 



Head couples forward and back twice 8 Bars 

Cross over 8 " 

[First couple passing between the sec- 
ond, returning to places by second cou- 
ple passing between first.] 

Balance to corners and turn partners 8 " 

All join hands, forward (to centre) and 

back, and turn partners to places 8 

Head couples twice — side couples twice. 



(( 



FOURTH FIGURE. 



Forward four and back e ... 4 Bars 

Turn partners to places 4 " 

Four ladies change places to right 4 " 

[Ladies pass to next ladies' places, join- 
ing right hands with gentlemen, who 
retain places, then all salute new part- 
ners and face centre of set.] 



THE ART OF DANCING. 87 

Gentlemen change places to the left 4 Bars 

[Gentlemen pass to next gentlemen's 
places to left, (ladies retaining places), 
joining left hands, saluting, and facing 
centre, as above.] 

Ladies again change places to right 4 " 

Gentlemen again change places to the left. .4 " 

All promenade to places 8 ** 

Head couples twice — side couples twice. 

FIFTH FIGURE. 

First couple promenade around the inside 

and face the centre 8 Bars 

Four ladies forward and back 4 " 

Four gentlemen forward and back 4 " 

All balance to partners 4 " 

Turn partners. 4 " 

Right and left half round 8 " 

Promenade to places 8 " 

Repeated by the other couples in their order,,. 



THE PRINCE IMPERIAL. 
PIRST PIGURE. 

Head couples lead to the right and salute. .4 Bars 
Take ladies from sides and exchange places. 4 



« 



88 THE ART OF DANOINQ. 

[After head couples salute side couples, 
first and second gentlemen take the 
right hands of side ladies with their 
left, and each trio goes backward to 
opposite head couples places, facing 
centre, with side gentlemen remaining 
in places.] 

Ladies right and left all around 8 Bars 

[The four ladies cross over, each giving 
right hand first to lady directly oppo- 
site (from head to head), pass on and 
give left hand to next lady from side to 
side, then right hand from head to head, 
and lastly left hand from side to side, 
ending with ladies facing partners, with 
backs to centre of set.] 

All Chasse 4 " 

Turn partners 4 " 

Head couples repeat and thus regain places. 
Side couples repeat twice. 



SECOND FIGURE. 



First gentleman and second lady forward, 
turn with both hands, stopping in front 
of and facing first lady 4 Bars 

Cross over 4 " 

[First lady crosses over, passing be- 
tween the first gentleman and second 
lady, giving her left hand to the oppo- 
site gentleman, and turning to the sec- 



THE ART OF DANCING. S9 

ond lady's place, at the saiiae time the 
first gentleman and second lady pass 
into the first couple's place, turning 
half round with left hand and facing 
opposite couple.] 

Forward four and back 4 Bars 

Ladies half chain to places 4 '* 

Balance to corners, turning at corners with 
right hand, and partners to place with 

the left hand 8 '* 

Repeated by the others in this order. 



THIRD FIGURE. 



First couple forward and leave lady in the 
centre, with her back to opposite couple, 
saluting, and gentleman retiring to his 

place 4 Bars 

Second couple the same . . . . , 4 " 

Third couple the same 4 " 

Fourth couple the same 4 " 

Ladies hands round 4 " 

[The four ladies, standing back to back, 
join "hands and pass round to the right, 
stopping in front of partners.] 
Gentlemen forward and extend the circle. .4 ** 
[The four gentlemen forward and join 
right hand to partners and left hand to 
next lady a,nd make a circle.] 



40 THE ART OF DANCING. 

All balance in a pircle and turn partners to 

places 8 Bars 

Repeated by the other couples in their order. 



FOURTH FIGURE 

.] 
Head couples forward and back 4 Bars \ 

Forward again and leave first lady and sec- i 

ond gentlemen with couples on their , 

right, and return to places 4 

Forward six and back, twice . . . . , 8 

First gentleman and second lady forward 

and back 4 

Forward again, salute and go to partners. . ."4 

Hands four half round (on either side) ... .4 

Half right and left to places 4 

Head couples twice — sides couple twice. 



riFTH PiaUEE. 



Ladles' to the right 16 Bars 

[Each of the four ladies passes to the 
next gentleman on the right, turning 
him with the right hand full round (gen- 
tlemen retaining places). Then pass 
and turn each gentleman in same way, 
finally turning partners.] 



THE ART OP DANCING, 41 

Head couples forward and back 4 Bars 

Forward again and leave ladies in centre, 

facing partners 4 " 

Chasse and turn partners to places 8 " 

Head couples twice — side couples twice. 

After the fourth time, the figure closes with 
" Ladies to the right," as before, and then " Ladies 
to the centre," back to back, and all salute partners. 



PARISIAN VARIETIES. 
FIRST FIG-UEE. 

Head couples lead to the couples on the 

right, salute, and retire to places 4 Bars 

Lead to the couples on the left, salute, and 

retire to places .* 4 " 

Right and left with opposite couples 8 " 

All waltz around 16 " 

Head couples twice — side couples twice. 

SECOND FIGUEE. 

Head couples forward and back 4 Bar*; 

Salute partners and change positions 4 " 



42 THE ART OP DANCING. 

[After saluting partners join left hands 

and change positions, so that lady is to 

the left of gentleman.] 

Head couples forward again and back 4 Bars 

Salute partners and turn with the right hand 

to regain places .4 "** 

All polka around 16 " 

Head couples twice — side couples twice. 



THIRD riauEE. 

First gentleman lead ladies to the centre. . .8 Bars 
[He first gives his left hand to the lady 
on the left, passes in front of her, and 
leads her forward without turning ; go- 
ing to the left, he gives his right hand , 
to the next lady, passing behind her; 
then left hand to next, and lastly his 
right hand to his partner, and retires 
alone to place.] 

Ladies join hands and move full round to 

the left 4 " 

Gentlemen give right hand to partners and 

conduct them to places 4 " 

Form square (dos a' dos) in centre 4 " 

[Gentlemen give right hands to partners 
left, and turn to the centre, the couples 
placing themselves back to back, form- 
ing a square in the centre 4 ** 

All v/altz around 12 " 

Repeated by the others in their order. 



THE ART OF DANCING. 48 

POURTH PiaUEE. 

Head couples forward and back 4 Bars 

Salute partners 4 

Four hands round with the couples on the 
sides 4 

Head couples forward and back, again 4 

Head couples polka redowa across to oppo- 
site places , 4 

Side couples polka redowa across to oppo- 
site places 4 

Head couples polka redowa to places 4 

Side couples polka redowa to places 4 

Head couples twice — side couples twice. 

FIFTH FIGURE. 



(( 



« 



Head couples forward 'and back 4 Bars 

Salute partners and form two lines 4 

[After saluting, the head couples separ- 
ate from their partners and join side 
couples, thus forming two lines,] 

All forward and back in two lines 4 

Four ladies cross right hands 4 

Move half round to the left with waltz step. 8 
Change hands and return to places with 

same step « 8 

All waltz around 16 

Head couples twice — side couples twice. 
After the fourth waltz, all salute partners. 



u 



CHAPTER IV. 



COMTRA DAHCES. 



The term " Contra Dance " was first applied to 
those dances in which the ladies and gentlemen 
formed in two lines, facing each other. In time 
the term became perverted from "Contra" to 
<' Country," and the latter is now applied to the 
older dances, such as the "Spanish Dance," " Sicil- 
ian Circle;" and " Virginia Reel — or. Sir Roger de 
Coverly." 

These dances are no longer fashionable, yet they 
are frequently danced all over the country. 



SPANISH DANCE. 

The Spanish Dance is danced to slow waltz 
music, and by any number of couples, arranged in 
a circle or in lines of couples. 



THE ART OF DANCING. 45 

Every two couples face each other, and have 
their backs to the next couples in the lines or 
circle, and dance in opposite directions. 

All begin at the same time, at the commence- 
ment of the second strain of the music. 

The gentlemen take the ladies' left hands with 
their right, and 

All forward 2 Bars 

[Each couple advances towards their 
vis-a-vis and back, in two measures, as 
follows : The gentleman advances one 
step with left foot, counting one ; then 
brings right foot to and behind the left, 
counting two ; then raises slightly on the 
toes, counting three* he then steps back 
with right foot, draws left foot back to 
right, and rising on toes, counting as 
before. The lady makes the same 
movement, commencing with the right 
foot.] 
Forward again and change partners, which 

causes a quarter turn to the left ....... 2 " 

Repeat to regain partners, which makes an- 
other quarter turn 4 ** 

Repeat the whole, ending in first position. .8 " 
Cross right hands and go half round to the 
left — ladies join right hands and gen- 
tlemen cross them above 4 " 

Cross left hands and return 4 " 

Walt^ or promenade once and a half round 

and face next couple 8 " 



4B THE ART OP DANCING. 

Repeat the figure with next vis-a-vis around the 
circle or through the lines until the music ceases. 



SICILIAN CIRCLE. 

A circle or lines of couples should be formed, 
the same as in the Spanish Dance. 

Right and left 8 Bars 

Balance to partners and turn 4 " 

Ladies' chain 8 " 

All forward and back 4 " 

Cross to next couple, ladies passing between . 4 " 

Repeat with each vis-a-vis until music ceases. 



VIEGIKIA EEEL (Sir Eoger de OoTerley). 

This dance is formed in sets of six or eight 
couples, in two lines, the ladies on one side and 
their partners directly opposite. 
The lady at the top and the gentlemen at 

the bottom of the line forward and back.4 Barj 

Their partners repeat 4 " 

Same two who commenced turn with right 

hand 4 " 

Their partners the same » 4 ** 



THE AET OF DANCING. 4? 

Same two turn with left hands 4 Bars 

Partners the same 4 " 

Same two who commenced turn with both 

hands 4 " 

Partners the same 4 " 

Same two who commenced dos-a-dos 4 ** 

Partners the same 4 " 

Top couple next join right hands and turn once 
and a half round ; the lady then gives left hand to 
next gentleman and turns, gives right hand to 
partner and turns, left hand to next gentleman and 
turns, and so on through the entire line. Her part- 
ner does the same, turning the lady instead of the 
gentleman. When the head couple reach the bot- 
tom of the line they join hands (crossing) and 
chasse up the centre to their places. Then they 
counter-march down the outside (lady behind ladies 
and gentleman behind gentlemen). All follow and 
join partners at bottom of line and chasse to places. 
Then all join right hands, raising them so as to 
form arch, and the top couple join hands and run 
down the middle, taking their places at the bottom 
of the line, thus becoming the bottom couple. 

The second couple now becomes the top couple, 
and the figure is repeated. After all have gone 
through the figure they all forward and back, for- 
ward again and turn partners, thus ending the 
dance. 



CHAPTER V. 
THE ROUMB DANCES. 



Among the Round Dances may be enumerated 
the "Waltz," the "Glide Waltz," the "Five-Step 
Waltz," the "Polka," the "Polka Redowa," the 
"Polka Mazourka," the " Schottische." and the 
"Galop." 

In these several dances the aim is to describe 
them so as to retain the distinctive features of 
each. It is difficult, however, to give a written 
description of the various steps so as to make it 
plain to the beginner, as a similarity of the motions 
is apparent, which need to be performed with the 
proper accentuations of time, to make them intel- 
ligible. 

Practice alone can make a person familiar with 
these dances, and a few lessons from an expe- 
rienced teacher will aid the student to follow the 
descriptions- here given with certainty. Step by 
step must be repeated slowly, as described, until 
each motion is fully understood ; then the power 



THE ART OP BANGING. 49 

of moving rapidly must be acquired by repeated 
efforts, until the motion can be executed with ease 
and grace. 

When a Round Dance is about to begin the 
couple may be walk-ing around the room, with the 
lady to the right of her partner. The gentleman 
places his right arm around the lady's waist, 
with the fingers together and the hand flat upon 
waist. In this position the lady should be gently 
but firmly supported. The lady's left hand should 
rest lightly upon the gentleman's right shoulder, 
with the fingers together and slightly curved, with- 
out grasping or bearing heavily upon the gentle- 
man. If the gentleman is so much taller than his 
partner as to make this position uncomfortable for 
the lady, her hand may rest upon his arm, at about 
the height of her chin. 

The lady's right arm should be nearly straight 
without being stiff, and the hand should be held 
with the palm downward. The gentleman's left 
arm is slightly bent, with the elbow carried slightly 
backward, and five or six inches from his side. 
In this position the gentleman places the palms of 
his left fingers against the palms of the fingers of 
the lady's right hand, so that her fingers do not 
project beyond his, while his thumb fests upon the 
knuckle of the lady's little finger and gently clasps 
her hand. 

When this position is properly taken, and each 



60 THE ART OF DANCING. 

holds the head perfectly straight, the couple are 
looking in the direction of each other's right 
shoulders. 

A proper distance between the couple should be 
observed, as too close proximity impede? the free- 
dom of the lady's action, while too great a distance 
prevents the gentleman from giving her sufficient 
support to give steadiness to the dance. 

The gentleman is the pilot of the dance, and he 
should always indicate a change of direction by a 
slight movement of the left hand. The lady should 
always be prepared to obey this slight direction, as 
the success of the dance depends entirely upon 
concert of movement. 

The dance, to be interesting, should be varied 
as much as possible, and going backward and for- 
ward, and turning to the right and to the left should 
be acquired by continual practice. 



THE MODERN WALTZ. 

Music — 3-4 Time. 

In beginning the Waltz, the gentleman takes the 
first position and moves as follows : 

Glide the left foot backward and to the left 
about twelve inches (count one) ; then bring right 



THE ART OP DANCING. 61 

foot back to second position (count two); place 
left foot in first position (count three) ; advance 
right foot a full step and turn toe to the right, as in 
fourth position, (count four) ; advance left foot half 
the length of the foot before and about the length 
of the foot to the left of right foot (count five) ; and 
then bring right foot to the first position (count six). 
In movements two and five the weight of the body 
must rest very lightly, these steps somewhat resem- 
bling a limp. On the other hand the full weight 
of the body should rest on counts one, three, four 
and six. 

The lady commences on the fourth step, and 
continues with five, six, one, two and three. 

In this way the lady executes four, five and six, 

while the gentleman executes one, two and three. 

These are the steps necessary for turning to the 

right, and at the sixth step a complete turn must 

be accomplished. 

The reverse, or turn to the left, is effected by 
substituting the right foot for the left in the fore- 
going explanation. 

The backward movement is executed by gliding 
the left foot directly backward a full step (count 
one) ; then bring the right foot half the length of 
the foot behind the left (count two) ; then bring 
left foot in a straight line so that the toe is on a 
line with the heel of the right foot (count three) ; 
then the right foot goes back a full step (count 



62 THE ART OF DANCING. 

four); then left foot back the same distance as in 
step two (count five); and then bring right foot 
back with the toe on a line with the heel of left 
foot (count six.) 

These steps are reversed for forward movement. 



THE HOP WALTZ. 

The Hop Waltz differs from the waltz just de- 
scribed, in the first and fourth steps being leaped 
instead of glided. 

Leap or spring from the right foot to the left on 
one, and leap or spring from the left foot to the 
right on four. 

The other movements are the same as in the 
Modern Waltz. 



FIVE-STEP WALTZ. 

Glide left foot forward (count one); bring the 
right foot to the third position, springing on it, at 
the same time raising the left with the toe pointed 
to the floor (count two); spring again on the right 
foot and bring the left back close behind the right, 
with the heel raised and the toe pointing to the 



THE ART OF DANCING. 63 

floor (count three) ; then glide your left foot diago- 
nally forward toward your partner, and turn slight- 
ly to the right ^court four) ; and again glide the 
left foot and bring the right in front of it in the 
third position, and turn half round (count five.) 

Then commence with the right foot and continue 
with five more similar counts while making another 
half turn. . 

The lady's steps are the same as the gentleman's, 
except that the feet are reversed, the lady starting 
with the right foot. 

In making the fourth step with the right foot, 
the dancer steps between his or her partner's feet, 
and not diagonally forward as directed for the left 
foot. 



KNIOKEEBOOKEE WALTZ. 



Waltz step half round, commencing with right 
foot ; waltz step half round commencing with left 
foot; v/altz step again half round, commencing 
with right foot ; then make two side movements 
sideways with left foot. 

Commence with the left foot and repeat same 
movements. 



64 THE AET OP DANCING. 

THE POLKA. 

Music in 2-4 Time. 

In dancing the Polka, the gentleman stands in 
the first position, with the weight of the body on 
the right foot. He springs lightly on the right^N 
foot, and almost at the same time glides the left 
directly sideways to the second position (count 
one) ; he then draws right foot to first position 
(count two) ; again glides the left foot to second 
position (count three), and then rests (count four.) 
The weight of the body is then thrown on the left 
foot. The spring is made on the left foot, while 
the right is glided quickly to second position ; left 
foot is drawn to first position ; the right is again 
glided to second position, and then comes the rest, 
as before, while the counts one, two, three and four 
are successively made. This is repeated over and' 
over as long as the dancers desire to revolve. 

In moving backward, the left foot is glided 
directly back, after the spring on the right, about 
twelve inches (count one) ; the right foot is then 
brought straight back about half the length of the 
foot (count two); the left foot again glided directly 
back twelve inches (count three) ; and rest, (count 
four). The weight is nov/ transferred to left foot, 
and the movements are repeated, commencing with 
the right. 



THE ART OF DANCING. 65 

For the lady the movements are the same, except 
that the feet are reversed, she starting off with the 
right foot instead of the left. 

The forward movement is the reverse of the 
backward, and is performed by the lady, while the 
gentleman is moving backward. The lady should 
never' be made to dance backward in any of the 
round dances. 



THE POLKA MAZOURKA. 

Mtisic in j-4 Time. 

This dance is a combination of the Polka and 
Mazourka. 

The gentleman, resting on his right foot, slides 
the left foot sideways to second position (count 
one), then brings the right foot to first position 
(count two), then glides left foot to second position 
without bearing weight on it, springs on right foot 
and at the same time brings back left foot to first 
position, with the weight still on right foot (count 
three). This completes the movements of the 
Mazourka, the next three counts being Polka 
movements, which are commenced with the left 
foot and continued during the counts four, five and 
six. After the Polka movements, tliose of the 



56 THE ART OF DANCING. 

Mazourka are recommenced with the right foot, 
and executed as before. 

As the Mazourka movements are always made 
sideways, the Polka step must be used for the 
revolutions. 

The lady's movements are the same, except that 
she commences with the right foot. 



THE REDOWA. 

Music in j-4 Time. 



The gentleman takes the iirst position, with his 
weight on the right foot. He springs on the right 
foot, and at the same time glides the left to the 
fourth position, and bears the weight on the left 
foot (count one) ; he then brings the right foot to 
first position, raising the left slightly from the floor 
and turning a little to the left (count two) ; the left 
foot is then brought behind the right to third posi- 
tion, while the weight rests on the left foot, with 
the right slightly raised from the floor (count ^ 
three) ; he then springs on the left, at the same 
time gliding the right foot backward and to the 
right (count four) ; he next brings the left foot to 
fifth position (count five) ; and finally brings the 
right foot close to the left, which should complete 
a full turn to the right (count six). 



THE AET OF DANCING. 57 

When this last movement is made, the heel of 
the left foot should be slightly raised, with the toe 
just touching the floor, so as to be ready to repeat 
the movement as described. 

The lady must commence with the right foot, 
and execute the movements four, five, six while 
the gentleman is executing one, two, three, and 
continues in the same way through the dance. 



THE POLKA REDOWA. 

Music in 3-4 Time. 

The Polka Redowa is the same as the Polka, 
except that the pause of the Polka is omitted, and 
in dancing you count three for both the music and 
the dance. 



THE SCHOTTISCHE. 

Music in 4-4 Time. 

Part First. — :Glide left foot to second position 
(count one) ; bring right foot to first position (count 
two) ; glide left foot again to second position (count 
three); then place the weight on left foot, with the 
right foot close to the left (count four). Repeat 



88 THE ART OF DANCING. 

to the right, counting five, six, seven and eight, the 
whole occupying two measures. 

Part Second. — Spring from the right to the left 
foot (count one) ; hop upon left foot (count two) ; 
spring from the left to the right foot (count three) ; 
hop on right foot (count four). Repeat the same 
for five, six, seven and eight, occupying in all two 
measures. 

The first and second parfs are repeated in order 
while the music lasts. 

The direction may be varied as the dancers 
desire. 

The lady starts with the right foot instead of the 
left, and executes the movements the same as the 
gentleman. 



THE GALOP. 

Music in 2-4 T'tme. 



The gentleman slides the left foot sideways 
(count one); and then brings the right foot to first 
position (count two). This is repeated for the 
advance or side movement till a change of direc- 
tion is desired. 

In turning, three steps are necessary, the second 
and third being made in the same time as the first. 



THE ART OF DANCING. 5& 

The first two steps are made as above, and the 
third is made by placing left foot halt the lengtli 
of foot in advance, and the same distance to tlie 
left of right foot ; then right foot slides sideways, 
left to second position, and right to same position 
as third step, with right foot forward. This is 
repeated as long as the revolving motion is desired: 

For backward movement the left foot is carried 
directly back (count one) ; the right is carried half 
the length of foot backward, close to the right foot 
(count two) ; and the left foot is carried back so 
that the heel is on a line with the toe of the right 
foot. The right is then carried back, and the 
movements repeated. This gives the forward, 
backward and revolving motions necessary for the 
graceful execution of the Galop. 

The lady executes the movements the same as 
the gentlem.en, excepting that the feet are reversed, 
she commencing with the right foot. 



THE DEUX TEMPS. 

Music Z7Z 3-4 Time. 

The step of the Deux Temps is the same as that 
of the Galop, the difference only being in the 
acce-ntuation, as it is danced to waltz music. 



60 THE ART OP DANCING. 

THE DANISH DANCE. 

Music in 2-4. Time. 

Slide the left foot to second position (count 
one); then draw right foot to first position (count 
two). Execute this forward position four times 
(count eight). Then glide in the opposite direc- 
tion eight short galop steps (count eight). Repeat 
both these movements (16 bars), and then revolve 
with the galop step or execute the schottische, dur- 
ing i6 measures. 

The lady begins with the right foot. 



THE ESMEEALDA. 

Music in 2-4 Thne. 

The gentleman begins with the left foot, and 
makes two galop steps sideways ; he then turns 
with three galop or polka steps. Re-commence 
with the right foot and continue in the same way. 

The lady commences with the right foot instead 
of the left. 



THE ART OP DANCING. 61 

THE VAESOVIEBfNE. 

Music in 3-4 Time. 

Part First. — The gentleman commences with 
one Polka Redowa step to the left, counting one, 
two, three ; then he points right foot in second 
position, and counts four, and rests while counting 
five, six. Repeat the same, commencing with the 
right foot. Again dance to the left and again to 
the right, making in all eight measures. 

Part Second. — The gentleman, commencing 
with the left foot, takes two mazourka steps with- 
out turning, and counting six: he then turns with 
one polka redowa step, counting one, two, three ; 
then points right foot in second position, and count 
four; and rest while counting five, six. Repeat, 
with right foot commencing. The whole of second 
part is then repeated, so that eight measures of 
music are consumed. The whole movement is thus 
completed in sixteen measures. 

The lady dances the same as the gentleman, 
except that the feet are reversed. 

In the second part the polka redowa may be 
substituted for the mazourka. 



CHAPTER VT. 



THE GERMAH. 



This dance is known in Europe as the Cotillion, 
and is composed of an endless variety of figures, 
It is important that those taking part in it should be 
familiar with all other dances, and particularly- 
round dances, as the Waltz, Galop, Redowa, Polka, 
Polka Redowa, and the several movements of the 
Quadrilles are introduced, in addition to move- 
ments and figures peculiar to itself. 

The German is formed by having the couples 
seated around the room, with the ladies to the right 
of their partners, leaving as much space in the cen- 
tre as possible. 

Before commencing, a gentleman who understands 
the different figures should be chosen leader, and 
the place occupied by him and his partner becomes 
the head of the dance. 

All entering the dance are supposed to be for- 
mally introduced, and no lady has the right to 
refuse to dance with any gentleman in the circle. 



THE ART OF DANCING. 63 

The authority of the leader must be unquestioned, 
as it is he who designates the figures to be danced. 

Before executing any figure the leader must dance 
with his partner at least once around the room, se- 
lecting any of the round dances, and notifying the 
musicians which to play for the purpose. Then he 
executes any figure he choses, and each couple, in 
turn, must repeat the same, till it has been danced 
by all in the circle. 

The term waltz in the following descriptions re- 
fers to any of the round dances tiiat may be chosen 
for the figure. 

In selecting ladies and gentlemen to complete 
the several figures, they must not be taken from 
those on the floor, but from those that are seated. 

When the room is small the waltz may be con- 
tinued for the second tour, but if it is too prolonged 
the leader claps his hands as a signal to stop, when 
the dancing should immediately cease. 



I. 



THE EXCURSION. 

After completing the waltz, the leader quits his 
partner and choses from the circle, two other la- 
dies ; his partner at the same time chosing two 
other gentlemen. They place themselves in two 
lines, opposite each other, a short distance apart, 



64 THE ART OP DANCING. 

the leader being opposite his own partner. Then 
they advance, and each, gentleman waltzes round 
with the lady opposite to him. This is repeated 
by each couple in the circle ; but when the com- 
pany is large two or more couples may start to- 
gether, each couple forming a set of their own. 

2. 

LADIES SEATED. 

Two chairs are placed in the middle of the 
room, back to back. The first two couple lead off 
with the waltz, stop in the middle of the room 
where the ladies are seated on the set chairs. The 
gentlemen choose two other ladies and waltz 
around the circle stopping in front of their part- 
ners. They then take their partners and waltz to 
places, while the two ladies left standing seat them- 
selves in the chairs. The next two gentlemen se- 
lect ladies and waltz round, and then conduct the 
seated ladies to places by waltzing, and return to 
their own, while the ladies they wahzed round with 
take the chairs. This is repeated by each two 
gentlemen in turn. When all have danced, two 
ladies remain seated on the chairs, who are then 
waltzed to places by their partners. 

Other chairs may be placed in the centre of the 
room, and the figure commenced by four, six, or 
eight couple, if the company is large. 



THE ART OF DANCING. 65 



THE BROKEN RING. 

After the first couple executes the waltz the 
leader leaves his partner in the middle of the room, 
and selects two other gentlemen, who, with him, 
form three hands round, turning very quickly to 
the left, with the lady in the centre. At a given 
signal the lady chooses one of the three gentle- 
men for the waltz, while the other two return to place. 
When all are intimately acquainted, the two gentle- 
men may waltz round the circle. 



THE ROUNDS OF THREE. 

After the waltz the gentleman selects two ladies, 
and the lady two gentlemen. They form two 
rounds of three near each other, and turn very 
rapidly. At a given signal the gentleman passes 
between and under the arms of the two ladies 
with whom he turned^ aud darts toward his part- 
ner who has just turned with the two gentlemen. 
The remaining gentlemen join the two ladies, and 
all are conducted to their places. 

The other couples repeat in the same manner. 



THE ART OP DANCING. 



THE HANDKERCHIEF. 



After the first couple waltz around, the lady re- 
mains in the centre of the room, and ties a knot 
near one of the corners of her handkerchief, and 
then gathers the four corners in her hand, with the 
corners projecting without the knot being seen. In 
the meantime the gentleman brings forward four 
gentlemen, who choose the projecting corners of 
the handkerchief, and the one who draws the knot 
dances with the lady, while the other gentlemen 
select ladies from the circle. The other couples 
perform the figure in succession. 



6. 



THE HANDKERCHIEF CHASE. 

The first three or four couples waltz round, and 
the gentlemen place their ladies in the middle of 
the room, each with a handkerchief in her hand. 
The leader then selects another gentleman, when 
all the gentlemen turn their backs to the ladies, 
form a circle around them, and turn rapidly. The 
ladies throw up their handkerchiefs, and each 
gentleman catching one, dances with the lady to 
whom it belongs, while the remaining gentleman 



THE ART OF DANCING. GT 

selects a lady from the circle. Others repeat the 
figure in their order. 

7. 

i 

THE SCARF. 

After the waltz the gentleman stands, with a 
scarf in his hands, in the middle of the room, while 
his partner places all the ladies around him. They 
join hands, and while turning rapidly to the left the 
gentleman throws the scarf over the shoulders of 
one of the ladies, with whom he waltzes. The 
other gentlemen then conduct their partners to 
places. If the company. is large two sets may be 
formed. 



8. 



THE HAT. 

The first couple leads off with the waltz, when 
the lady is left in the middle of the room, with a hat 
in her hand. All the gentleman then come for- 
ward and form a circle around the lady, with their 
backs towaid her. They then turn rapidly to the 
left and the lady places ihe hat on the head of one 
of the gentlemen, with whom she dances, while the 
other gentlemen return to places. The figure is 
repeated by the other couples in turn. 



THE ART OP DANCINQ. 



THE FAN. 



After the waltz the leader seats his partner upon 
a chair placed in the centre of the room. He then 
presents to her two gentlemen from the circle. She 
gives her fan to one and dances with the other. The 
leader resumes his seat while the gentleman wii'a 
the fan follows the waltzers, fanning them till ilic 
lady is returned to place. Others repeat till a.l 
have danced. 



THE FLOWERS. 

The waltz completed, the leader selects two 
ladies and asks each to name a flower, so that none 
but himself can hear; He then selects another gen- 
tleman and tells him the flowers named by the 
ladies. He names one of the flowers and dances 
with the lady who named the same, while the leader 
dances with the other. The leader's partner selects 
two gentlemen at the same time, and executes the 
same figure. 

II. 

THE COLUMNS. 

The leader sets out with the waltz and places his 
lady in the centre of the room. He then selects a 



THB ART OP DANCING. €9 

gentleman and' places him back to back with his 
lady. He places another lady facing this gentle- 
man, and another gentleman with his back to the 
second lady, and so on till five or six couples are 
thus placed. The last one placed in the line must 
be a lady. At a signal from the leader all wheel 
round in place, and waltz with their vis-a-vis. Two 
or three columns may be formed by the same 
number of couples starting with the waltz. 

12. 

EXCHANGE OF LADIES. 

Two couples Start with the waltz, and after com- 
pleting several circuits, they approach each other 
and exchange partners without losing step or time. 
After dancing with each other's partners they retake 
partners in the same way and waltz to place. The 
other couples repeat. 

13. 

THE MYSTERIOUS SHEET, 

The first couple waltz around. A sheet is held 
by two persons so as to form a screen. All the 
gentlemen, or as many as it can conceal, place 
themselves behind the screen aud put the ends ot 
their figures on its upper edge. The lady who* is 



TO THE ART OF DANCING. 

placed on the opposite side must select the person 
she desires to waltz with by taking hold of the fin- 
gers on the top of the screen. 



THE LADIES DELUDED. 

The first couple lead off, and the leader then 
takes his partner's hand and conducts her around 
the circle. In doing so he approaches several 
ladies and feigns to solicit them to dance. When 
the lady rises to accept he passes on to another. 
He linally accepts one and dances with her, while 
his lady dances with the accepted lady's partner. 

IS- 

THE CIRCLE OF DECEIVERS. 

After the waltz the leader selects three ladies and 
places them with his own to form a square in the 
middle of the room, then selects four gentlemen 
and with them forms a circle of five inside the 
square formed by the ladies. The gentlemen now 
turn rapidly to the left, and stop at a given signal 
and wheel round to dance v/ith the ladies behind 
2hem. The gentleman who fails to secure a part. 
Tier returns to his place in the circle. 



THE ART OF DANGINQ. 11 

l6. 
THE CARDS. 

After waltzing round, the leader presents the 
four queens of a pack of cards to four ladies, 
while his partner presents the kings to four gen- 
tlemen. The gentlemen then seek the ladies 
holding their respective suits and waltz with them 
— the king of hearts with the queen of hearts, etc. 

17. 

THE MYSTERIOUS HANDS. 

The first couple waltz, and the gentleman then 
conducts his lady to an adjoining room. He then 
chooses several other ladies and conducts them 
to the same room. The door is placed ajar 
and each lady passes her hand through while 
she conceals herself. The leader then brings for- 
ward as many gentlemen as he has selected ladies ; 
and each gentleman, including the leader, takes one 
of the protruding hands, and dances with the lady 
thus chosen. This figure can be performed by 
placing the gentlemen in the room. 

18. 

THE COUNTRY DANCE. f 

Four couples place themselves on the floor, as for 
a country dance. The first couple then waltz 



THE ART OF DANCING. 



around the couple on the right, and in the same 
manner make a circuit around the other couples. 
The other couples on the floor repeat the same, when 
all waltz back to places in the circle. 



19. 



THE ZIG-ZAGS. 

Eight or ten couples lead off together with the 
waltz. They then place themselves in couples be- 
hind each other, with the ladies to the right of their 
partners. The couples should stand at least three 
feet apart. 

The first couple then commence a waltz and 
pass through all the couples in a zig-zag. The 
other couples repeat till the first couple regain the 
head of the set, when all waltz to places. 



20. 



THE FIGURE OP EIGHT. 

Two chairs are placed in the centre of the room 
about 4 or 5 feet apart. The first couple waltz 
around and then pass behind a chair, sdll waltzing, 
then between them and in front of the second chair, 
then behind that, again between and in front of the 
f^rst chair, thus describing by their waltz the figure 
8. Other couples repeat in turn. 



THE ART OF DANCING 73' 



THE MIRROR. 



The first couple waltz around, and the gentleman 
then seats his lady upon a chair placed in the 
centre of the room, and hands her a small mirror. He 
then conducts a gentleman frorh the tircle to a 
position behind the lady's chair. The lady sees him 
in her mirror, and may decline by shaking her head 
or turning the mirror. Other gentlemen are pre* 
sented in the same way till she selects a partner to 
dance with. The rejected gentlemen may select 
partners and waltz, or return to their places as they 
may elect. 

22. 
THE COUPLES PRESENTED. 

The first couple waltz round, after which the 
gentleman kneels on one knee in the centre of the 
room, while his partner presents several couples to 
him, successively, whom he rejects. The couples 
form a line behind the kneeling gentleman, who 
finally accepts a lady with whom he dances, and 
then returns her to her partner. This couple then 
waltz to seats. The first gentleman dances with 
each lady in the line in the same way, and finally 
Conducts his partner to her place. •• 



74 THE ART OF DAJSTCINQ. 

23. 
THE REJECTED LADIES. 

The first couple waltz. The gentleman then 
kneels in the centre of the room, and his partner 
presents several ladies to him from the circle. He 
refuses a number, who range themselves behind him, 
in a line. He at last accepts a lady and dances 
with her, while the rejected ladies are elevated by 
their partners, and all waltz to places. 



24, 



THE ROPE, 

Three couples waltz round, then separate, and each 
person selects a new partner. The ladies retire to 
one end of the room and the gentlemen to the 
other. The first couple then stretch a rope across 
the room, and the gentlemen, in turn jump across 
the rope to join their partners. The amusement of 
the figure is occasioned by the efforts made by 
those holding the rope, to trip gentlemen as they 
jump over it. When all have joined their part- 
ners, the waltz is repeated and all return to places. 
The other couples repeat the figure in turn. 



THE ART OF DANCING. 

25. 
THE DICE. 

After the waltz the leader places his lady in a 
chair in the middle of the room. He then selects 
two gentlemen and hands each of them a paste- 
board dice, 5 or 6 inches square. The gentlemen 
throw these dice in the air, and the one who throws 
the higher waltzes with the lady, while the losing 
gentleman takes the chair. The leader next brings 
forward two ladies, who repeat the same, the lady 
throwing the higher dancing with the seated gentle- 
man, while the leader dances with the other lady. 
The others repeat in order. 



26. 



THE CABALISTIC HAT. 

The first couple perform the waltz. Then the 
gentleman hands his partner a hat, into which she 
requests a number of ladies to drop some article. 
She next offers it to the gentlemen, each of whom 
takes something out. The gentlemen now pro- 
ceeds to find the ladies to whom the articles be- 
long, and when found they perform the waltz with 
them. Several couples may perform this figure at 
the same time. 



TO THE ART OP DANCING. 

27. 
THE CUSHION. 

The first gentleman holds a cushion in his left 
hand while he waltzes round with his partner, leav- 
ing the cushion with the lady at the end of the 
waltz. She presents it to several gentlemen in 
turn, whom she requests to place a knee on it. She 
withdraws it quickly from those she rejects. The 
one she allows to kneel on it, she accepts as her 
partner for the waltz. 

28. 

THE PURSUIT. 

The first three or four couples lead off with the 
waltz. Each gentleman in the circle may go be- 
hind the couples and claim the lady for the dance, 
and claps his hands as a signal that he desires to 
take the place of her partner. As soon as a gen- 
tleman takes a lady another should replace him 
immediately and thus keep up the amusement. 
The figure is continued till each gentlemen regains 
his partner, when all waltz to places. 

29. 

THE FINAL CIRCLE. 

All the persons in the circle form a round. The 
first couple leave the circle, which immediately 



THE ART OP DANCING. 77 

closes with them in the centre. They perform the 
waltz in the middle, when the lady issues from the 
circle. He then selects another lady, waltzes with 
her, and then he issues from the circle. This lady 
selects a gentleman for the waltz and then she 
leaves the circle. The figure continues in the same 
way till only two or three couple remain, when a 
general waltz is performed. 

30. 

THE RE-UNION OF COUPLES. 

The first couple lead off and then take the second 
couple and form a round of four. They make a 
half tour to the left when the leader drops the 
hand of the second lady, turns to the left, drawing 
the other persons after him till he reaches the third 
couple, with whom a round of six is formed. 
Another half tour to the left is made, the leader 
dropping the hand of the lady to the left, and leads 
them all the same as before to the next couple. 
This is repeated till the last couple is reached, 
when a general round is formed. ^ A tour to the 
left is then made during eight bars, and the figure 
ends with a general waltz. This figure is usually 
executed at the end of the German. 



CHAPTER VII. 
BENEFITS OF DANCING. 

Notwithstanding the opposition to the dance 
that has been manifest in all ages and countries, it 
has continued to grow in public favor, till now it 
is more universally enjoyed than at any time in its 
history. Philosophers, poets, historians, and states- 
men have spoken in favor of the benefits to be 
derived from it. Young and old, male and female, 
rich and poor, have alike participated in its joys 
and pleasures, and experienced its healthful influ- 
ence on mind and body. Yet very few fully realize 
the benefits it confers on mankind, while many 
regard it as sinful in the extreme. 

I shall not attempt to argue this question, but 
content myself with briefly stating a few of the 
advantages derived from modern dancing. These 
may be enumerated as physical development^ freedom 
and grace of 7notion^ social culture^ morality, recrea- 
tion and enjoyment. 

A proper physical education is almost entirely 
neglected in America, and consequently the youth 



THE ART OP DANCING. TO 

of both sexes grow up puny and undeveloped, and 
frequently break down in health before they have 
reached the prime of life. Various causes tend to 
this result. Ignorance of parents on the one hand, 
and the necessity of sending young children to 
earn a living on the other, prevent the freedom 
of action which is natural to childhood, and which 
tends to perfect physical development. It is as 
natural for children to romp and play as it is for a 
lamb to frisk in the field, and when this freedom is 
denied them the most important branch of their 
education is neglected. 

As childhood passes, the sterner duties of life 
demand attention, and healthful recreation is often 
forgotten. Then time presses, and when the im- 
portance of physical exercise is understood, it 
appears too much like work to undertake it. Even 
when undertaken, it is often too severe upon the 
undeveloped muscles,, and does more harm than 
good. 

In such cases, the advantages of dancing as a 
physical exercise must be apparent to all. The 
friendly gathering, the accompanying music, the 
bustle and vivacity of the scene, animate all into 
action. Every muscle of the body responds to 
the rythmical action of the nerves as they act in 
unison with the musical chords. The exercise is 
as harmonious as the music. No overstrained 
muscles protest against their misuse. No feeling 



80 THE ART OF DANCING. 

of a dread necessity fills the mind when the exer- 
cise is again to be taken. All go to the dance for 
enjoyment, and go through a regular exercise of 
musical calisthenics that sends the blood coursing 
through the system, carrying life and health to 
every part and organ, while the dancers remain in 
blissful ignorance of what gives them so much real 
pleasure. 

The best authorities on the subject of physical 
development agree that exercise with heavy weights, 
and intense monotonous ex-ertion of particular 
muscles, are not productive of good results. Mr. 
Smiles, who is recognized as a leading authority, 
in his work on " Physical Education," says : " The 
greatest benefit is derived from that exercise which 
calls into action the greatest number of muscles, 
and in which the action of these is intermitted at 
the shortest intervals." Now where can such a 
muscular action be acquired so perfectly and natu- 
rally as in the dance. The music is a powerful 
stimulus to these motions. *' .it touches the play- 
impiulse, and substitutes a spontaneous flow of 
energy for the mechanical effort of the will." So 
fully is this fact recognized, that teachers of gym- 
nastics have found it necessary to render their 
exercises attractive, to connect them with what 
Homer ^-alls " the sweetest and most perfect of 
huma- enjoyments " — the dance. 

Some object to the dance on the ground that it 



THE ART OP DANCING. 81 

is usually enjoyed at night, when it necessitates 
loss of sleep and other conditions that are not con- 
ducive to health. In reply I have only to say that 
few people are so situated as to take proper exer- 
cise during the day, and consequently the dance 
must prove of great advantage. This exercise at 
night is infinitely better than none at all, and when 
not abused it rests and strengthens those who are 
weary with the monotonous toils of the day. 

This objection, however, cannot be urged against 
dancing as a part of the physical education of 
the young. An afternoon dancing lesson affords 
the best possible exercise for children who devote 
a considerable part of their time to study. The 
ruder sports of boys are often too severe on their 
undeveloped muscles, while girls are usually de- 
barred from exercise of any kind. Dancing gives 
a natural, harmonious motion to all the muscles 
and organs of the body, that can be obtained in no 
other way ; and it is a well established fact that 
children who have regularly practised it as part of 
their education are stronger and healthier for hav- 
ing done so. The physical development thus 
obtained by girls render them more capable of 
pursuing the higher education, for which they are 
often rendered unfit for lack of strength. 

Dancing is often abused, by being kept up night 
after night till near morning, and thus robbing 
nature of her natural sleep. But it is the good in 



82 THE ART OP DANCING. 

life that is always abused, and dancing as a physi- 
r.al exercise must not be condemned because a few 
have abused it, any more than that food should be 
condemned because a few make gluttons of them- 
selves. 

Even those most opposed to dancing admit that 
it imparts a freedom and grace of motion that can 
be obtained in no other way. Deportment consti- 
tutes an important feature in every well regulate J 
dancing academy, and a few well directed lessons 
in the dancing hall will do much to remove the 
feeling of awkwardness and ba^h fulness so universal 
with the young. A familiarity with the various 
movements of the several dances also gives a con- 
fidence and freedom of motion that soon becomes 
natural. The friendly conversation carried on 
during the excitement of the dance also gives 
confidence, and bashfulness almost imperceptibly 
gives place to elegance of motion and refinement. 

Those who have learned to dance are always 
more at home in the social circle than those 
uninitiated in its merry mazes. Dancing is essen- 
tially a social institution, and contributes largely 
to the social enjoyment of modern society. It is 
this feature that renders it so important as a means 
of physical development. While mingling with 
friends, and contributing to the happiness of all 
around, the physical advantages are felt without 
being realized. 



THE ART OF DANCING. 83 

The old Puritanical idea of separating the sexes 
in schools, churches and society has given way to 
a more rational understanding of the relation of 
the sexes. It has been fully proven by recent 
investigation and experience that the co-education 
of the sexes tends to a higher morality than the 
rigid methods of earlier days. The sexes are 
refined and ennobled by proper association at all 
periods of life, and the associations of the dance 
are no exception to the rule. A careful study of 
the opinions of the ablest physiologists of the age 
will demonstrate the unquestionable truth of this 
statement, and will forever settle the cry of iinmo- 
raliiy that has been so persistently raised against 
dancing by religious enthusiasts, who could enjoy 
nothing bright or cheerful in life themselves, and 
would also prevent others from so doing. 

Of all the benefits of dancing, the r(.cr:3ation 
and enjoyment it affords to those taking part in it 
is the most deserving of notice. Human life at 
the best is filled with cares and sorrows. A heavy 
lieart and aching head are often hidden by a forced 
smile ; and a few moments of innocent recreation 
snatched from the troubles of every day life are 
like the rays of sunlight that break through the 
dense black clouds of the threatening storm. In 
no way can these cares and anxieties be so com- 
pletely forgotten for a time as by engaging in the 
merry dance. The music awakens the memories 



84 THE ART OP DANCING. 

of the happier days of childhood and early youth, 
and soon the desire comes to mingle in the dance. 
Then the blood flows with increased rapidity, 
carrying oxygen and life to every nerve and fibre. 
This increase of vitality causes increased motion, 
and soon the jaded man of business is a boy again. 
Financial difficulties and every business care is for 
the time forgotten, and once again he knows what 
real enjoyment is. Nor does the pleasure cease 
with the hour. The next day is brighter for the 
recreation of the evening — everything assumes a 
more cheerful aspect, and life is not so dark and 
dreary. 

This is not an imaginary picture, but a bright real- 
ity. If you have sorrows and troubles bearing upon 
you, mingle in the social dance, and demonstrate 
for yourself the cheering influence with which the 
recreation will surround you, and then communi- 
cate the fact to your friends, that they too may 
mingle a little sunshine with the shade of their 
lives. 



CHAPTER VIII. 
THE HISTORY OF DANCING. 

The ** Encyclopaedia Britannica " says that danc- 
ing in its widest sense includes three things : 
(i.) The spontaneous action of the muscles under 
the influence of some strong emotion, such as 
social joy or religious exultation; (2.) definite 
combinations of graceful movements, performed 
for the sake of the pleasure which the exercise 
affords to the dancer or to the spectator; (3.) care- 
fully trained movements, which are meant by the 
dancer vividly to represent the actions or passions 
of other people. In one or the other of these 
meanings dancing has been known to all nations 
from the earliest periods of antiquity to the present 
day. 

The real origin of dancing, however, is so com- 
pletely clouded by the mists of fable that nothing 
is certainly known of it. One account in mythol- 
ogy attributes its origin to the goddess Rhea, the 
wife of Saturn and the mother of Jupiter. Saturn 
had devoured all her male children, for fear that 



86 THE ART OF DANCING. 

one of them would dethrone him, so when Jupiter 
was born Rhea deceived Saturn by giving him a 
stone, which he devoured instead of the child. 
Jupiter was then concealed, and Rhea invented 
the Pyrrhic, or Armed dance, to amuse and divert 
him, and to drown his cries by the noise of swords 
striking against bucklers. 

Another account makes Terpsichore the inven- 
tress of dancing. She was recognized as the goddess 
of dancing, and was named from two Greek words, 
which mean "to delight in the dance." She was 
one of the nine daughters of Jupiter and Mnemo- 
syne. This myth in all its parts is a pleasing one. 
Jupiter was the supreme Roman diety, and was 
called "the father of men and gods," and Mnemo- 
syne was the goddess of memory. They had nine 
daughters, who were known as the nine Muses, of 
whom Terpsichore was one. The Muses were the 
inventors of and presided over poetry, music, danc- 
ing, and the liberal arts and sciences. How natural 
that the mother of the inventive goddesses, or 
powers of the mind, should be recognized as the 
goddess of memory. 

Again, the origin of dancing is attributed to 
Minerva, a daughter of Jupiter, who sprung from 
his brain ; while still another account makes Castor 
and Pollux, sons of Jupiter, the first teachers of 
dancing. 

Though these myths are Roman, the gods and 



THE ART OF DANCING. 8T 

goddesses are synonymous with those of Greece, 
and the myths are based on still older ones of a 
similar nature. Thus we find ourselves beyond 
the remotest boundries of authentic history, and 
yet the dance was known and practised. 

In the book of Exodus we are told that Miriam, 
the sister of Moses, and all the women of Israel, 
celebrated the destruction of the Egyptians with 
timbrals and dances. This would be about 1,500 
years before the birth of Christ. The Greeks 
amused themselves by dancing the "Armed Dance " 
before the walls of Troy during the memorable 
siege, from 1194 to 1184 B. C. King David, of 
Israel, danced before all the people B. C. 1050; 
and 1000 B. C. Solomon wrote, " there is a time to 
weep and a time to laugh; a time to mourn and a 
time to dance." Lycurgus, the great Spartan law- 
giver, about 323 B. C., framed a law which made it 
imperative that the Spartan youth should be trained 
in a military dance from the seventh year of age. 
Christ also speaks of the elder brother of the 
Prodigal Son hearing music and dancing. 

Plato, the celebrated Greek philosopher, who 
lived B. C. 429-348, divides the dances of the 
ancients into three classes, viz. : (1.) The mili- 
tary dances;- (2.) the domestic dance; (3.) the 
mediatorial dance. 

The Military Dances were designed to develop 
the body and prepare it for the fatigues and exploits 



88 THE AKT OF DANCING. 

of war. These were of two kinds, the " Gymno- 
pedic," or children's dance, and the "Pyrrhic." or 
armed dance. The " Gymnopedic " was introduced 
by Lycurgus, and was preparatory to the "Armed 
Dance." It was danced by two choirs — one of 
men and the other of children. The children 
always regulated their movements by those of the 
the men, while all danced at the same time. The 
" Pyrrhic " was danced by young men fully armed. 
All the movements of attack or defence were exe- 
cuted to the sound of a flute. This dance is com- 
posed of four parts. The first consists of a quick 
motion of the feet, such as we know as a ^'double 
quick " in modern drilling ; the second imitates all 
the motions that would be necessary in battle ; the 
third consisted of high leaping ; and the fourth 
was a square figure, performed to slow music. 

This military dance, in some form, was known' 
to and practised by all nations of antiquity, and 
even by the savages of both hemispheres. It still 
survives, in all so-called civilized countries, in the 
various forms of military drill. 

The Domestic Dances were those of amusement 
and recreation. These varied materially in differ- 
ent countries, and in the several districts of the 
same country. Some had no character of imita- 
tion, but were exercises or gambols designed for 
sport; while others were composed of complex 
figures, always performed in the same way, and 



THE ART OF DANCING. 89 

accompanied by music and singing. In Greece, 
the liberty and freedom of action of the dance at 
first evinced the purity and simplicity of their 
morals, but after a time this liberty degenerated 
into wantonness and licentiousness, and finally the 
" lascivious dances " of the Romans were intro- 
duced at the festivals of Bacchus, the god of wine. 
Originating as they did, in a state of drunkenness, 
it is not surprising that the gross indecencies prac- 
tised by both men and women in these lascivious 
dances finally brought dancing into disrepute 
among the Romans. 

The Hymenial Dance was performed at marriage 
festivals, by young men and girls crowned with 
flowers. This dance in all its parts was expressive 
of the mirth and happiness incident to such occa- 
sions. It was usually continued till the dawn of 
next day, and the newly married couple, if not 
taking part, were expected to witness it. 

The Mediatorial Dances were those performed 
when sacrifices were offered to the gods, and when 
expiating sins. These were distinct in character 
from many of the dances performed at religious 
festivals, which are classed among the domestic 
dances. 

The Sacred Dances, which formed so important 
a part of the worship of antiquity, were so numer- 
ous that it is impossible to describe or name thein 
here. They formed an important part of the relig- 



90 THE ART OF DANCINa. 

ion of every nation, and even at the middle of tli^ 
eighteenth century there were traces of them in 
the cathedrals of Spain and Portugal. In fact, it 
is claimed that many of the ceremonies that con- 
stitute part of the worship in the Roman Catholic 
and Episcopal churches of to-day are simply mod- 
ifications of the various religious dances of the 
ancients. 

The Athenians were the first people, of whom 
we have any account, who introduced stage danc- 
ing as interludes to the regular drama. The old- 
est of these dances was called the " Delian Dance 
of the Labyrinth, or the Flight of the Cranes," and 
was said to have been introduced by Thesius, King 
of Athens. These stage dances were the earliest 
representations of the pantomime-ballet which has 
since been brought to such great perfection. The 
Rev. Robert Nares, author of " Remarks on the 
Ballet of Cupid and Psyche," in speaking of the 
pantomimic part of the dance, says : " Being in 
its origin used in the service of religion, it thereby 
acquired a dignity which in modern times it never 
possessed. The most sacred mysteries of heath- 
enism were thus accompanied. Apollo, in a pas- 
sage of Pindar, is called the dancer ; and there is 
a Greek line extant which represents Jupiter him- 
self in the very act of dancing. Even in Rome, 
where the dance was on the whole much less 
respected, the priests of Mars, to whom the care 



THE ART OP DANCING. 9J 

of the sacred Ancilia was committed, were, from 
their customary and solemn dances, denominated 
Salii. Of the imitative dance, both Plato and 
Xenophon, in the person of their master, Socrates, 
speak very favorably ; and Aristotle ranks it with 
the art of poetry. Plutarch, in the last book of 
" Symposiac Questions," considered it worthy of 
distinct discussion. And Lucian, an author cer- 
tainly not deficient in genius and sagacity, has left 
an express eulogium, in which he scruples not to 
prefer the orchestic to the speaking drama. 

" The Greeks," says Athenseus, '* had brought 
their dance to such perfection in the art of imitat- 
ing the passions, that the most eminent sculptors 
thought their time not ill-employed in studying 
and designing the attitudes of the public dancers; 
and to this study they owed undoubtedly some of 
the transcendent beauties of their works." 

During the reign of Augustus Caesar, serious 
and comic pantomime were brought to great per- 
fection by Pylades and Bathyllus. Augustus be- 
came the patron of these great dancers, and passed 
laws for the protection and privilege of the panto- 
mimists. Pylades was, however, subsequently ban- 
ished from Pvome, for pointing his finger at a person 
in the audience who had hissed him, thus calling 
attention so that all could see who had given him 
offence. The pantomime continued in favor till 
the decline of the Roman empire, when it was lost 



92 THE ART OF DANCINQ. 

sight of in the darkness that for a time clouded 
the world. 

The modern ballet seems to have been first pro- 
duced on a considerable scale in 1480, at Tortona, 
before Duke Galeazzo, of Milan, on the occasion 
of his marriage with Isabella of Aragon. It soon 
became the principal amusement for all great occa- 
sions at the European courts. Painting, sculpture 
and movable scenery were employed as accessories, 
and the representation usually took place at night. 
Early in the sixteenth century Aglio, Count of 
Savoy, himself prepared and acted ballets with the 
princes and princesses of his court. During the 
time of Catharine de Medici, about 1550, Baif 
introduced into France the allegorical, moral and 
ludicrous ballets. Court ballets were introduced 
at the same time, and grew so in favor that Louis 
XIII., Louis XIV., and other members of the 
royal family continued for a long time to take part 
in them. Though these ballets were usually com- 
plex in their character, sometimes .he> had a polit- 
ical aim ; as, for example, " The Prospenty of the 
Arms of France," danced before Fichelieu in 1641, 
and " Religion Uniting Great Britain to the Rest 
of the World," danced at London o the marriage 
of the Princess Elizabeth to the Electo Frederick. 

About this time the ceremonial ball was culti- 
vated, The fathers of the Church, assembled at 
Trent, gave a btill, in which they took part. 



THB ART OP DANCING. 9» 

Toward the close of the seventeenth century, 
masked balls became common; and in France a 
limited number of persons in character costume 
carried on a masquerade for diversifying the char- 
acter of a ball. In 1 7 15 a system of public balls 
was started in the opera house, in Paris, but they 
did not succeed. 

Chorography, or orchesography, the art of danc- 
ing notation, deserves a place among the antiqui- 
ties of dancing. It originated in 1598, but about 
1700 M. Feiullet published a complicated system. 
A separate sign was used for each position, and 
the track of the dance was represented by curved 
lines. Such diagrams as still exist are interesting 
simply as visible history of extinct dances, but are 
of no practical value in -teaching or composing 
danf ing. A few of these diagrams are still extant, 
and to be found in some of the older works on 
dancing. 

The fascination of stage dancing by degrees ex- 
tended to the spectators, and after a time dancing 
became a popular ref^reation at nearly all social 
gatherings throughout Europe and America. Each 
nation had dances peculiar to themselves, some of 
which have long since passed into disuse, while 
others, with slight changes, have taken their places 
among the standard modern dances. 

Of the very old dances, the May Dance until 
verv recently held its own in the rural districts of 



94 THB ART OF DANCING. 

England, and in many places is still held in great 
favor. It is of ancient origin, as it dates back to 
the dancing at the "Feast of Flora." Flora was 
the goddess of flowers, and festivals in her honor 
were held the last of April and the first of May. 
The ancient Britons, before the Roman invasion, 
erected May-poles and adorned them with flowers 
in honor of Flora. Other countries of Europe 
also had their May dances for celebrating the first 
of May. In Switzerland these festivals were con- 
ducted with great solemnity in the morning, a 
dramatic representation was given in the afternoon, 
while the evening was given up to music and danc- 
ing. In England the festival is now generally 
known as Maying. There the youth of both sexes 
start early in the day to gather flowers, which they 
throw in front of the houses, and with which they 
decorate the May-poles. Then a number of rib- 
bons, also decorated with flowers, are attached to 
the top of the poles, and the dancers taking hold 
of the ends dance around till the ribbons are 
woven round the pole in the form of a braid. The 
reverse movements are then performed for un- 
winding them. A pleasing feature of these festiv- 
ities is that on May morning the fairest or most 
popular of the girls is chosen May Queen, and 
crowned with a garland. Her word is law for the 
day, and all vie with each other in doing her 
homage. 



THE ART OF DANCING. 95 

Quadrilles were first introduced in France, about 
the year 1760. They were then performed by two 
couples, as the figures first used in the French 
quadrilles only required four persons to perform 
them. At a later period two couples were added 
to form the sides, and these simply repeated the 
figures while the first couples rested. 

The Cotillon was also a square dance of French 
origion, and is claimed by some to have been in 
vogue before the quadrilles. It became popular 
during the reign of Charles X., of France (1824 to 
1830), and was common in England and Scotland 
at the end of the last and the beginning of the 
present century. It was danced by eight persons, 
and nearly all the figures were lively, and required 
the entire set to take part at once. The word 
Cotillon means in French "under petticoat," and 
the dance was so called because the ladies raised 
their dresses while dancing the lively figures, and 
thus exposed to view their feet and white petti- 
coats. 

In time the cotillon was replaced by quadrilles, 
which were composed of shorter figures. Then 
some parts of the Cotillon were added to the 
Quadrilles, till finally the figures of each were 
danced in the same set, and the terms came to be 
syi onymods. Finally the name Cotillon was drop- 
pea, and Quadrille came to include all those figures 
dancea by four or eight persons at one time. 



96 THE ART OP rANClNQ. 

The Lanciers, Caledonians, Prince Imperial, 
Parisian Varieties and Waltz Quadrilles are all of 
comparatively recent origin, and were introduced 
to give diversity to the movements of the dance. 

Sir Roger de Coverly was composed about 170 
years ago, and was generally used as a finishing 
country dance. It is known in America as the 
Virginia Reel, and is still much in vogue in coun- 
try places. 

. The Waltz receives its name from the German 
word walzen — to revolve. It is undoubtedly of 
Slavic origin. Though danced for a long time in 
some parts of Germany, it did not become popular 
till 1788, when it was introduced on the Viannese 
stage, in an opera called " The Cosarara," by Vin- 
cent Martin. From the stage it soon found its 
way to the ball-rooms, and it spread rapidly all 
over Germany. Presently it was introduced into 
England, when several tried to prevent its general 
introduction by writing against it, and among the 
number was Lord Byron. In spite of this it be- 
came very popular, and has remained so till the 
present day. It has been much changed of late 
years, and various modifications have been intro- 
duced to vary the step and the general movements. 

The Polka, so called from its characteristic half- 
step, is reputed to have been invented in 1831, by 
a young peasant girl of Elbeteinetz, Bohemia. It 
found its way into Prague about 1835, ^^^ ^^^ 



THE ART OF DANCING. ffj 

danced in Vienna in 1839. A dancing master of 
Prague, named Raal, introduced it into Paris in 
1840, where he danced it at one of the theatres 
with great success. It was introduced into the 
ball-rooms of France and England about 1843. 
On May I oth, 1844, it was danced at the National 
Theatre, Chatham street, New York, for the first 
time in America, by Miss Mary Ann Gannon and 
L. De G. Brookes, now one of the oldest and best 
known teachers of dancing in America. The- 
dance met with great success in New York, and,, 
as variously modified, was for many years a favor- 
ite. It is, however, seldom danced in fashionablie' 
society at the present time. 

The Redowa is of Bohemian origin, and was^inr- 
troduced into Paris about 1845. 

The Mazourka had its origin in Poland, and was, 
carried from there to Russia by soldiers. It was^ 
next introduced into England, and from there it. 
reached France. 

The various other round dances are modifica- 
tions and combinations of those already men- 
tioned, and were introduced from time to time to 
vary the movements. 

The German was introduced into Germany about 
seventy years ago. From there it extended to 
rRussia, and,, after undergoing improvements, ,it 
reached Paris. In 1831 a gentleman just returned 
from Germany introduced it into New York, and 



dS THE ART OF DANCING. 

in 1842 it reached London, where it became very 
fashionable. It is, however, rarely danced at 
public balls in America, as it is more adapted to 
private parties than to the ball-room. 

The progress of dancing thus briefly traced 
shows that it has developed, as the arts and sciences 
have, by the younger nations borrowing from the 
older. But when we examine the histories of the 
uncivilized nations, who have lived for centuries 
in ignorance of the existence of any other people, 
and find that all have their characteristic dances, 
which closely resemble the earlier dances just de- 
scribed, we are impressed that dancing, like relig- 
ion, must spring from a natural impulse of human 
nature. In the wilds of Asia, Africa and America, 
and in the far-off islands of the Atlantic and 
Pacific, where the influence of our so-called civili- 
zation had never penetrated, wedding, funeral, war 
and imitative dances were performed to music and 
singing. These dances in many respects bear a 
striking resemblance to those of the ancients, and 
in many instances are not unlike some of the 
movements of our modern dances. A description 
of a few of them will give a general idea of their 
character, and cannot fail to interest the reader. 

The natives of the southern part of Africa are 
known as the Kaffir tribes, and many of their cus- 
toms are highly interesting. The Kaffir wedding 
dance is performed by the women forming in two 



THE AKT OF DANCma 99 

lines, with the bride in the centre. A lively air is 
struck up, when the whole body of warriors rush 
from all parts of the camp, beating on their shields 
and making terrible noises. Dancing and singing 
are then continued' for an hour. After refresh- 
ments are served, the bride, who has remained 
standing alone in the centre of the dancers, 
advances to her intended husband and dances 
before him, amid the shouts of the bystanders. 
When wearied with dancing, the husband leads 
her off and the ceremony is ended. 

The Fiji Islanders are great lovers of dancing, 
and those skilled in a new dance earn plenty of 
goods by teaching it. All their dances resemble 
military movements, and the men are always 
dressed as if for war when they take part in them. 
Music and dancing constitute the chief part of 
marriage celebrations. The movements of the 
dance are intricate. Wheeling, halting and stamp- 
ing of feet in exact time to the rhythm of the 
song and the beat of the drum are executed with 
the greatest precision. Sometimes several hundred 
will engage in the dance, while twenty or thirty 
musicians will be engaged to supply the music. 

In the Samoa Islands the wedding dance is per- 
formed after the bride has been led away by the 
husband. The spectators are seated in a circle 
around a clear space, and keep up a monotonous 
chant. The men first enter the circle, led by ^ 



100 THE ART OF DANCING. 

young chief, and wearing only a small leaf apron, 
so as to show off the tattoo to the best advantage. 
Their leader goes through a vast number of steps, 
sometimes leaping high in the air, and sometimes 
executing movements of a slower and more grace- 
ful character, while every step is watched and crit- 
icised as it is danced by the leader, and imitated 
by his followers. After the men have danced for 
some time they retire, and a number of girls enter, 
who go through evolutions of a similar character, 
and afterward both men and women dance together. 
It will be seen that there is a striking similarity 
between this dance and our modern German. 

The Latookas, a tribe inhabiting the country on 
the east of the Nile, bury their dead and exhume 
the bones after several weeks, and place them in 
earthern jars. They are then removed some dis^ 
tance from the village, where the funeral dances 
are performed. Great numbers of both sexes take 
part in these dances Their heads are decorated 
with ostrich feathers, and skins of leopards and 
monkeys are hung from their shoulders. A large 
iron bell is fastened to the small of the back, which 
is sounded continuously during the dance. Each 
dancer wears an antelope horn suspended from the 
neck, which is blown by each in turn, and, with 
drums, furnish the music. Crowds of men rush 
round and round, in a sort of galop infernal., bran- 
dishing their arms, and keeping m line tive or six 



THE ART OP DANCING. VU 

deep, following their leader, who heads them, danc- 
ing backward. The women keep outside the line, 
dancing a slow stupid step, while the girls and 
children, decorated with strings of beads and iron 
rings, keep in line, beating time with their feet, and 
jingling their ornaments to keep time to the drums. 
One woman is recognized as the principal dancer, 
and she continues to dance to the last, regardless 
of her appearance. Such dances form a part of 
every funeral festival. 

The war dance of Borneo is commenced by the 
warriors poising themselves on one fooj and de- 
sciribing a circle with the 'other, at the same time 
extending their arms and then meeting their hands 
and clapping them to keep time with the music. 
The music soon becomes louder, and all present 
join in a hideous war cry. Then the motions and 
screams become more violent, and the excitement 
of the dance is greatly increased; Noises of all 
kinds are added to work up the dancers to frenzy. 
Sometimes the dance takes on the form of attack 
and defence, with the same uniformity of motion 
as characterizes our military drills. 

In New Zealand the warriors feel bound to en- 
gage in the war dance before meeting their enemy. 
They are first painted and ornamented, and then 
arrange themselves in lines, mostly three deep. 
The dance begins with stamping the feet in perfect 
time with each other. Then with a sudden yell 



102 THE ART OF DANCING. 

the whole body of men leap sideways at the same 
instant. The war song is begun, and in accord- 
ance with .its rhythm the men leap from side to 
side, each time striking the ground with great force. 
Their faces are frightfully contorted, and as the 
dance continues their furious excitement increases, 
till for the time they seem like absolute maniacs. 

In New Guinea they perform a pleasing dance 
of a social nature, known as the torch-light dance. 
A dozen or more persons, with torches in their 
hands, extend rapidly into line, keeping time with 
the motion of their arms and feet. Then they 
form a circle, and all go forward to centre and 
back ; then they divide into two lines, advance 
and retreat, cross and recross, and then pass round 
the circle in a zig-zag manner. This is kept up 
for about half an hour, when a rest is taken before 
the dance is renewed. 

The American Indians, at the time of the dis- 
covery of Anerica by Columbus, had their dancelfe' 
which they regularly engaged in on all great occ 
sions. These were either war dances, practised 
before a battle, the scalp dance after a successful 
fight, and dances of simple amusement and of 
thanksgiving. 

The war dances, like those of other savage 
tribes, were intended to increase their courage by 
developing a kind of frenzy during the dance. 
The braves were all arrayed in their war paint and 



THE ART OP DANCING. 103 

feathers, and danced around in circles to the noise 
of drums and the clash of arms. The various 
motions of the actual battle were also performed 
with great energy. The scalp dance was one of 
triumph for the scalps secured in battle. It always 
took place at night, around huge fires. All those 
who had obtained scalps would keep up a fiendish 
kind of dance almost through the night, swinging 
the scalps on sticks, over their heads, and chanting 
songs which boasted of their great skill and prowess 
in battle. Similar dances were practised when 
prisoners were about to be killed. They were 
fastened to a tree, and young and old danced 
around them for hours, causing all kinds of torture 
to the victims. These dances were often varied 
by throwing spears and arrows as near to the pri- 
soners as possible, without striking them, and 
while this was being done the dance was continued 
to the sound of horns, drums and sticks. 
B^The great variety of the social dances of the 
Indians demonstrate their fondness for amusements. 
These dances are fanciful and picturesque, though 
some of them have a religious significance. Among 
them may be enumerated the ball-play dance, pipe 
dance, buffalo dance, beggars' dance, bear and dog 
dance, the snow-shoe dance and the corn dance. 

The snow-shoe dance is one of thanksgiving to 
the Great Spirit for sending snow, which enables 
them to get plenty of game. In this dance several 



IW THE ART OF DANCING. 

spears are stuck in the ground, and on one a pair 
of snow-shoes are tied, and on the others various 
sacred objects. The dancers, clad in hunting 
dresses and wearing snow-shoes, go round and 
round the spears, imitating the movements of the 
chase and singing songs of thanksgiving. 

When the corn is ready for use they have an annual 
festival in which they perform the corn dance. In I 

other dances they dress themselves with the skins | 

of various animals, and imitate their motions and | 

noises. In the histories of uncivilized nations | 

many other interesting dances are described in full. | 

The limited space at my disposal prevents a | 

fuller account of the origin and progress of danc- * 

ing. Enough has, however, been written to direct ^f 

attention to this fascinating subject, and I trust at 1 

no distant day to be able to present to my readers I 

a complete "History of Dancing," in which every- 
thing connected with its origin and progress will 
be carefully and accurately told. ittk^Jf 



■i 
THE END. I 



¥1 



^ 



